Sunday, November 1, 2015

MODERN MUSICIAN: A CONVERSATION WITH MODERN MOD'S ALIVIA KLEINFELDT-SIDE ONE

SIDE ONE: BEGINNINGS

What is your earliest musical memory?
ALIVIA KLEINFELDT (Modern Mod bass guitar/vocals, age 19): I think my earliest musical memory would have to be watching “The Monkees” reruns on Sunday mornings as a little, little kid. It was my favorite show since before I could remember. I was probably 2 years old when I started watching the show and I worshiped them and had so many songs memorized, and recently, my Mom and I just discovered that they are once again playing reruns, so it’s been so much fun to revisit that and remember why they were my first favorite band!
That is amazing!! The Monkees were the very first band I was ever obsessed with as well. I think I was maybe 5 or 6 years old when I first saw the TV show. I just have to ask. Who is your favorite Monkee? When I was a kid, it was Mickey Dolenz. Now, I think it's Mike Nesmith.
It’s too hard to choose a favorite! But I’d probably have to go with Davy Jones because I’m good friends with someone who has toured multiple times as Davy’s bassist, and he actually gave me the bass he used to play on stage for him and had informed me that Davy had often times picked up this bass and had loved playing it! So, I feel a special connection to Davy. And also, because he was on an episode of “Spongebob Squarepants” and that used to be one of my favorite shows, haha!!
Aside from The Monkees, which artists were your first sources of inspiration?
I have an extremely wide array of musical influences now that it's pretty crazy for me to think about what it really started with. But, I'd definitely have to say that as far as what initially inspired me to start seriously listening to and appreciating music in general was Alice Cooper.  There's a pretty long backstory on him for me.
I’d love to hear it.
One night in eighth grade when I couldn't sleep, out of desperation to do something other than lie wide awake, I got out this little iPod-shaped radio that my Mom bought me and I never had interest in using until that moment, and I started scanning the stations. I came across a familiar voice: Alice Cooper. My brother and Dad were really into classic rock and whenever we were in the car, they would turn on his radio show, so I decided to listen for myself. I instantly was fascinated by him and the music he played, and I started listening to his show every night. I got really into bands like Van Halen, Guns N Roses, and Alice Cooper of course.
My interest in 80’s hair metal bands and the like faded pretty quickly but Alice's earlier work really stuck with me, as did the classic heavy metal and psychedelic bands like Black Sabbath, The Doors, The Animals, Arthur Brown, etc. But, I also got into The Beatles for the first time, who then in turn opened me up to stuff of all different genres and time periods, and the rest is history I guess!  
To list a few of my first sources of inspiration for writing my first few songs, I'd have to say the Beatles and The Monkees for sure, Alice Cooper, The Doors, The Who, and my favorite contemporary band at the time: The Strokes. Those were the bands that really influenced me to write and play music, and inspired what and how I wrote. Also, something I more recently realized, is my vocal style is largely inspired by listening to and admiring my Grandparents sing to themselves around the house when I would visit them as a kid. I have always loved their voices, and the way they sing- capturing the 1940's/50's style- is just beautiful to me and I've tried to recreate that myself.
So, I say that I owe my love of music to Alice Cooper and his radio show, and accredit him for my being a musician. I even went as Alice for Halloween! You know, there was a period of time, pretty much most of middle school, that I stopped listening to and playing music.
Really? Why is that?
I think I stopped playing because I was really big into sports. I was a big time basketball player and I even thought at one point that I'd be playing it throughout college. I was a bit aimless in middle school, which makes sense because I was only 12, ha ha! But, I never wanted to practice my guitar because practicing just seemed like a chore at the time. I was in orchestra and was a pretty good violinist all throughout middle school, but I didn't ever want to practice that either. I was also really shy and felt like I got even moreso at the time, so I didn't ever sing or play in front of people unless I had to at an orchestra concert. So I think I stopped music due to a combination of other interests, a lack of purpose and confidence, and a bit of laziness too, ha ha!!
Even with going through that piece of your life, do you remember when you realized that you even wanted to express yourself musically?
I think when I really realized that I wanted to be a musician, a bassist to be specific, was one night in 8th grade when I joined my parents in watching a special on The Beatles, and I instantly connected with their music and with Paul McCartney in particular. It was pretty mind-blowing to me at the time, to think that I had never truly listened to them in the way I had that night.

All the while, I was becoming really good friends with someone in my school, a drummer named Emma Witmer (ed note: original Modern Mod songwriter/drummer credited as "Ronnie Clarke"). After we realized we were both really into music, Emma and I started joking about making a band, how I'd take up bass and we'd make a 3-piece with a random Hot Topic employee. One day, though, one of us said "you and I should actually make a band," and we were both so on board that I bought a bass a week later and we were playing music together practically every day.

I had already been playing guitar for years, so instruments had come pretty naturally to me and I was confident on that right away. Singing was definitely more difficult for me to start because I had very little self-confidence, and singing in front of an audience was an extremely nerve wracking thought, especially since I never sang even to myself and I thought that I was a pretty bad singer. I was just kind of forced into doing backup vocals at the beginning of joining my first band, and I think being pushed to do it and practice it consistently in front of people was what helped me feel more confident in my own ability. And now, I absolutely love to sing!
And how many instruments are you able to play exactly?
It really started with a plastic green harmonica that I got in a gift bag from my 2nd grade best friend’s birthday party, that I decided that I wanted to play real instruments. So, I got a real harmonica and taught myself how to play that. Then, I picked up a guitar after I saw my sister learning, and I wanted to do the same. I took guitar lessons for a while, then I took that break from music altogether until middle school orchestra, that’s when I picked up the violin. When I picked up the bass guitar, I also switched to the double bass in orchestra. I was also in my school’s Secret Underground Ukulele Club for a year. I can also fake my way decently enough on the cello and piano. But, I’d say I can respectably claim to play harmonica, bass guitar, guitar, double bass, violin, and ukulele.
Emma Witmer and Alivia Kleinfeldt, circa 2014

How did you and your Modern Mod bandmates first meet?
So, I am actually the only original member of this band right now, but it started as my best friend Emma and I deciding we want to start a band in middle school, and we found a program called Rock Workshop at the Madison Music Foundry, where I learned to play bass. The program puts kids of all ages, skill levels, and musical tastes together to form bands where they learn to write and record a song together and perform at a showcase. That’s how the band started, and we went through a number of people after deciding to try to stick together. We met Cal Pocernich (Modern Mod guitarist) through his friend Dan who was the original guitarist, and we met Emily Massey (Modern Mod lead singer) through her sister because I went to camp with her. This was all spread out through several years, and we’ve gone through a few (embarrassing) band name changes.
What is the origin of the name “Modern Mod”?
The name Modern Mod came from our interest in the 1960’s mod music and culture.  We actually decided that Modern Mod would be a good name because it implied we were taking on a new, modern spin on the Mod music and fashion, although, and I could be wrong, but I don’t think our music ever ended up really sounding like any mod bands I’d think of. But, we also agreed the name had a nice ring to it.
Were your parents always supportive of your musical aspirations, as well as your role in Modern Mod?
Yes for sure, they were always very supportive of my interest in music, and had encouraged me to pursue it even when I had my doubts and considered going to college out of state and forgetting about music for a while. I remember when I first told them that I wanted to buy a bass they were a little skeptical, but that's probably because I was so impatient and was determined to purchase one basically a few days after deciding I wanted to play the instrument (which I ended up doing anyways.) But, they’ve always supported my dream and are just as passionate as I am about my music, and I’m incredibly grateful for that fact.
Modern Mod, circa 2014
Do you remember very your first gig? What was the response to your first Modern Mod performance?
Our first gig was at the High Noon Saloon, under a different name and with all different members, and with songs we never play anymore, so I guess it’s barely a Modern Mod gig but I’ll still count it (laughs)! It was in the middle of the day for the Rock Workshop showcase. We “headlined" because we were the only band to write not one, but three original songs, and play two covers. It was terrifying, to say the least. I was so incredibly nervous, but I remember thinking it went well despite that. Our parents loved it! But, I remember getting some good compliments, so I’d say our first show was a success.
I asked the members of Post Social this very same question and I’d love to get your feelings about this one. It is one thing to receive praise from your parents. How have you been received by your friends and peers? Was one set (adults or peers) easier or harder to get on your side?
A lot of my friends thought it was the coolest thing in the world that they knew someone who was in a band, so I felt a lot of support from my peers in the early days of the band. It was always difficult getting them to our shows though because of age restrictions and the fact that none of them could drive. I’ve been very lucky to receive almost nothing but support throughout my entire musical career from friends and family alike. Only a few times I received a disapproving remark about my not going to college immediately after high school, but I knew and my family knew that I was making the right choice because it’s what I wanted to do most, so those negative comments never affected me.

Have you ever surprised yourself with any piece of music that you have written?

I have written and worked on a fairly substantial amount of music for the amount of time I’ve been doing it, but I’ve really only completed a small handful of songs. So I was astounded when “Papercuts” won the alternative song of the year at the MAMA’s (Madison Area Music Association awards) this year, because that was only the second song I’d ever written. But, some of the newer songs I’ve written have been sort of amazing to me that I could come up with something of the sort. I think back to my early days of writing, and I love where I’ve been going and I know that I can only progress and keep pushing my creativity because I have so much I want to create and I am still trying to figure out how to do so. But, I think that one of my newest songs that I’ve written for myself has surprised me the most, because of its lyrical content. The lyrics are pretty simple, it’s plain English, yet the meaning behind them is so powerful to me that it takes me aback when I really think about them. The song is still in progress but I really cannot wait until I finish it and let everyone hear it.
Stay tuned for Part Two of my exclusive conversation with Alivia Kleinfeldt where she discusses the recording of Modern Mod's debut album "Tunnels" and its subsequent success, the MAMA awards and her bandmates! 

MODERN MUSICIAN: A CONVERSATION WITH MODERN MOD'S ALIVIA KLEINFELDT-INTRODUCTION

And now for something extremely special...

In the month of September, I was truly honored to present to you an exclusive, extensive interview I conducted with the members of the Madison, WI band Post Social. Within the experience of asking the members questions and receiving their thorough, thoughtful answers, I was constantly amazed with the depth and openness they offered to me and no matter how far that series reaches or how many people will actually read it, I am happy to have taken part in creating a document specifically for them detailing this specific period of their lives as musicians as well as friends.

At this time, I am equally excited to share with you another exclusive, extensive interview I was conducting during the same period and even a tad longer. For the entirety of this year, I have been extolling my extreme enthusiasm for the Madison, WI band Modern Mod, and their debut album "Tunnels" (released April 21, 2014), which I discovered immediately after I first heard Post Social and entirely due to the passionate recommendations by B-Side Records owner, my friend Steve Manley. 
My original intent was to possibly create some sort of interview project/open history of both bands as the members attended school together, compose and play music together and continue to remain friends. Certainly as they are all now recent high school graduates, and all involved heavily within their post-high school lives, it was not always an easy feat to have our equally busy schedules match up for any sort of interview process. While speaking with Post Social/Modern Mod drummer Brendan Manley, he suggested to me that perhaps I should find a way to speak with Modern Mod bassist/singer/songwriter Alivia Kleinfeldt, as she is not only the co-founder of the band, she is currently the only sole original member remaining, making what Manley referred to as the "heart and soul" of Modern Mod.

As with the members of Post Social, I reached out to Kleinfeldt through Facebook and very quickly, we began sending questions and answers back and forth, and again, I was deeply impressed with her thoughtfulness, her openness, her humor, her thoroughness and most of all, her immense kindness.

At the time of this writing, I have not met Alivia Kleinfeldt in person at all. I have not spoken with her on the phone. I have actually never even seen her in the flesh! And despite the lack of face-to-face contact, the conversations that I have had with her have been filled with nothing but pure warmth and graciousness. In fact, so easy-going has this process been with her that it actually has felt as if I had been speaking with her, ether on the phone or in person, all the while. That I believe is a testament to her immense charm, which I sincerely hope that you will be able to receive over the course of this new series which will be released over four installments.

I interviewed Alivia Kleinfeldlt off and on, and as her schedule and time permitted, between June and November of this year (in fact, as of this writing, we are still finishing it up) and the wealth of material she provided has made for what I feel is a wonderful document of her creative, artistic, and musical life which is indeed vibrant, exciting, infectious, engaging and fully captivating.

I hope that you will be as easily won over by her stories, her viewpoints, and her perspective of what is it to be a young, working, and serious musician in 2015. And honestly, if you cannot gather the amount of fun she has been having while creating, then you clearly have not read one word she said.

So, without further hesitation, I invite you to meet Modern Mod's Alivia Kleinfeldt. May you be as won over as I.

WSPC'S SESSION NOTES NOVEMBER 2015: DASH HOUNDS/POST SOCIAL LIVE AT BRIGHT RED STUDIOS FRIDAY, OCTOBER 30, 2015


FROM THE DJ's STUDIO DESK:

This may be a bit "Salinger-esque" as I must begin this month's activities with a very special evening I had a few nights ago and then, I must work backwards, thus bringing everything into its fullest and most complete circle.

Throughout this year, as I became introduced to the music of both Madison's Post Social and Modern Mod, and having met many of the band members, I would occasionally receive invitations through Facebook announcing a new concert date. On every single occurrence, I unfortunately had to politely decline their gracious invites as my teaching schedule and the time that I would have to awake each morning just did not coincide with the time they would hit the stage the night before. So, aside from their performance on Record Store Day this year, I have not seen Post Social perform live. And as for Modern Mod, I haven't seen then perform at all to date.

Thankfully, most everything changed a few nights ago. 
On the evening of Friday, October 30, 2015, and again thanks to an invitation delivered to me by Post Social's guitarist/vocalist Mitch Deitz, I attended a pop-up art gallery event organized by the ArtWrite Collective and held at Madison's Bright Red Studios. The night centered around the debut print run of "F-Zine," a self-described "womanist and feminist" zine of art and writing created and produce by a collective of local artists. In addition to the zine, the gallery also provided a showcase for a variety of artworks, from paintings to sculptures, including one created by Modern Mod's lead singer/guitarist Emily Massey and utilizing one of Post Social/Modern Mod drummer Brendan Manley's old drum heads. 
The soundtrack for the event was provided by three local bands, two of whom I knew that I had to make an effort to see, especially at this was indeed a Friday night and my early hours were non-existent for Saturday morning. At last, I was to see a full performance by Post Social and I am thrilled to say that the band did not disappoint in the least.
With a set that served as an incredibly enthusiastic push for their latest album, the raucous and addictive "Young Randolphs" (released October 3, 2015), Post Social performed the bulk of the album with supreme vigor, tight musicianship and tremendous energy. They truly made the very most out of the slightly cramped performance area, treating their patch of land as the greatest stage set. 
 
Mitch Deitz again proved that he is a rock star, the perfect frontman and whose enthusiasm is completely infectious as you just find yourself wanting to jump up and down with him, as waves of guitar heroics lift him aloft. 

Guitarist/Vocalist Shannon Connor made for a perfect counterpoint to Deitz with his more stationary physical presence, a certain stoicism that belied the guitar fireworks that blasted from his fingers, especially on songs like the exuberantly performed band favorite "Ohio," the soaring lead solo on "TV Row" and the shimmering textures he and Deitz created on "Days," and especially "Haunt Me" and "Green Screen," two tracks on which Connor took lead vocals.
Without any sense of hyperbole, and having just seen the man in action up close and personal, I have to say that Bassist Sam Galligan is easily Post Social's John Entwistle as every song is pushed to greater heights by his fluidly melodic and propulsive playing while he stands in a mostly stationary position, music flowing through his spirit to his fingers. 
And as for Drummer Brendan Manley, he continued to impress me tremendously, creating that perfect rhythm section with Galligan and bashing out crisp, punchy beats while often hunched over his drum kit. 

Post Social truly delivered the goods with a performance that exhibited many of the same hallmarks that made the recent Garbage concert such a smashing success as well. The pacing of the show, the placement of the songs and most importantly, the songs themselves! As it has been said in the past, and completely applies here, it was all killer and no filler. Post Social is unquestionably a force to be reckoned with.

But, now I have to explain about arriving full circle.
In addition to Post Social, I was also graced to witness the live debut performance of the new band Dash Hounds, a formation featuring Brendan Manley in full collaboration with Modern Mod Bassist Alivia Kleinfeldt, who also sings lead vocals. During the stretch of time as I was interviewing Post Social, I was also interviewing Kleinfeldt, who first informed me about her new band and how she and Manley would be writing and recording as a duo on all instruments and then augmenting with more players for live performers, in this instance featured Mitch Deitz and Drummer Teddy Mathews, which meant that Manley would be switching to the role of guitarist for the first time in his professional career. 

What made this piece of the evening that much more significant was the fact that during the entire time I have been interviewing Kleinfeldt, she and I had never met in person. And on this night, at last we met!!! While I'll never really know about her, I have to admit to being more than a little nervous as our conversations over the last several months, and entirely through Facebook, have been so easy-going and so natural that I hoped that nothing would feel awkward face-to-face. Thankfully, Kleinfeldt was as warm, friendly, loquacious and gracious as she was over the internet and I was honestly very humbled that she would have been so accepting of someone who she hadn't met in person, and over quite a considerable amount of time to boot. 

We spent much of the time before her performance simply chatting and I praised her boldness for debuting Dash Hounds so early in their existence as they have released only one song (entitled "Idee Fixe" and you can find it on their Soundcloud page), have a few more in the works and were only going to perform four songs total. I felt it to be a bold and brave move, demonstrating a confidence that I would not have myself if I happened to be in her position. By the time Dash Hounds took to the stage as the first band to perform this evening, my curiosity, already piqued, ultimately became filled with the anticipation for hearing more. 
Talk about confidence, Dash Hounds took to the stage and performed as if they had been a long established and seasoned act. If any of the band members were nervous, most of all Kleinfeldt and Manley, they never exhibited any signs whatsoever. Manley switched to guitar (and as I had been informed,a guitar he had built himself, no less) with seemingly effortless ease, therefore impressing me all the more with the extensiveness of his talent. Teddy Mathews handled the drums solidly and during the performance of "Idee Fixe," he even illustrated a certain Nick Mason feel that took the song into near Pink Floyd territory during its extended ending section. Deitz, while not downplaying his enthusiasm, easily slid into the more supportive role fluidly.
Modern Mod's Emily Massey even showed up to perform on one song, which I was told was a former MM selection, written by Kleinfeldt, yet never recorded by the band. So, in some ways, I (sort of) saw a Modern Mod performance with three fourths of the band present and accounted for.
Yet, the focal point of Dash Hounds was indeed Alivia Kleinfeldt, who exuded that aforementioned confidence with her rich, low voice and her command of her melodic, flowing bass playing combined with her strong stage presence. During all four songs, Dash Hounds displayed a diverse musical palate that stretched across the boundaries of pop, alt-rock, gently psychedelic and atmospheric, and the final song, which recalled The B-52's tinged with a taste of The Police, just left me hoping that Kleinfeldt perhaps had a fifth song tucked in her back pocket, ready to surprise us with its unveiling. 
And speaking of unveiling, this month upon Synesthesia, I am so, so excited to unveil the long-in-the-works interview project I have been conducting with Alivia Kleinfeldt. And believe me, I am certain that after you read everything that she has to say, you will see that she is indeed the real deal, a musician whose passion and enjoyment of music and her role within creating music is paramount.

I exited the night truly upon a high. It meant so much to me to not only see and meet some new, young writers and artists so proud and excited about their work and community and unafraid to express themselves in the spirit of feminism, a term that has sadly taken some strange, ugly spins over the years and especially now in 2015. 
To have Post Social align themselves with the ArtWrite Collective would have been special enough but to see Dash Hounds on the ground floor to wherever they will ultimately land was as warming as it was inspiring. And finally, meeting Alivia Kleinfeldt was truly the icing on the cake!
Stay tuned, the EXCLUSIVE Synesthesia interview with Alivia Kleinfeldt is about to be released! And for all the music that you listen to and create, remember to always...

....PLAY LOUD!!!!!!!!!!!!!!! 

Saturday, October 31, 2015

WSPC PLAYLIST OCTOBER 2015

October 1, 2015
"Mama" performed by Genesis
"Climbing Up The Walls" performed by Radiohead
"Burn The Witch" performed by Queens Of The Stone Age
"Asylum" performed by Supertramp
"Once Upon A Daydream" performed by The Police

October 2, 2015
"Melt The Guns" performed by XTC
"Valentine's Day" performed by David Bowie
"American Skin (41 Shots)" performed by Bruce Springsteen

"Tug Of War" performed by Paul McCartney
"Back On The Street" performed by Utopia
"The Vagabond" performed by Air with Beck
"Games People Play" performed by The Alan Parsons Project
"Ordinary Pain" performed by Stevie Wonder

"Yo Mama" performed by Frank Zappa

October 3, 2015
"Doctor Robert" performed by The Beatles
"Silver Rainbow" performed by Genesis
"Idioteque" performed by Radiohead
"In A Hand Or A Face" performed by The Who

"Get By" performed by Talib Kweli
"I Am Not My Hair" performed by India.Arie featuring Akon
"I Must Go" performed by Lindsey Buckingham
"Say What!" performed by Stevie Ray Vaughan and Double Trouble
"Here I Come" performed by The Roots

October 4, 2015
"Life On Mars" performed by David Bowie
"Rocket Man" performed by Elton John
"Interstellar Overdrive" performed by Pink Floyd
"Why Me?" performed by Planet P. Project
"Space Baby" performed by The Tubes
"Emily" performed by Joanna Newsom
"We Are All Made Of Stars" performed by Moby
"The Galaxy Song" from "Monty Python's The Meaning Of Life"
"Starman" performed by David Bowie

October 5, 2015
"Monday" performed by Jon Brion
"Monday's Rain" performed by The Bee Gees
"Crying Like A Church On Monday" performed by New Radicals
"Make It Till Monday" performed by The Verve
"Monday Morning Blues" performed by Mississippi John Hurt

HAPPY 72ND BIRTHDAY TO STEVE MILLER
"Gangster Of Love" (live)
The Steve Miller Band performance of The Midnight Special 1974

"Gentle Ben" performed by Post Social-WSPC PREMIERE
"Driven To Tears" (live in Essen) performed by The Police
"Force Ten" performed by Rush
"Juarez" performed by Tori Amos
"The Package" performed by A Perfect Circle

October 6, 2015
"Sun Comes Up It's Tuesday Morning" performed by The Cowboy Junkies
"Ruby Tuesday" performed by The Rolling Stones
"Sweet Tuesday Morning" performed by The Iveys
"Love You Till Tuesday" performed by David Bowie
"Hooray For Tuesday" performed by The Minders
"Tuesday Heartbreak" performed by Stevie Wonder
"On A Tuesday In Amsterdam Long Ago" performed by Counting Crows
"Tuesday Morning" performed by The Pogues

"Stray Dog" performed by New Order with Iggy Pop-WSPC PREMIERE
"Wall" performed by Post Social-WSPC PREMIERE
"Gesceap" performed by Tortoise-WSPC PREMIERE
"Watcher Of The Skies" (live from Shepperton Studios Halloween 1973) performed by Genesis
"My Love's Leaving" performed by Steve Winwood

October 7, 2015
"Waiting  For Wednesday" performed by Lisa Loeb and Nine Stories
"It's Already Wednesday" performed by Freya
"Wednesday Morning Dew" performed by Majic Ship
"Wednesday Morning, 3 A.M." performed by Simon and Garfunkel
"Wednesday Week" performed by The Undertones
"Wednesday Girl" performed by The JetSet
"Wednesday's Song" performed by John Frusciante
"Wednesday Morning" performed by America

"Some Girls Bigger Than Others" performed by The Smiths
"The Trap" performed by Johnny Marr
"Future Games" performed by Fleetwood Mac
"Green Screen" performed by Post Social-WSPC PREMIERE

October 8, 2015
"Thursday Here's Why I Didn't Go To Work Today)" performed by Nilsson
"Jersey Thursday" performed by Donovan
"Thursday Morning" performed by Giles, Giles and Fripp
"Rain Every Thursday" performed by Bobby Hutcherson
"Thursday" performed by Jim Croce
"Sweet Thursday" performed by Matt Costa
"Thursday's Child" performed by David Bowie

"The Less That I Know The Better" (live on "Late Night with Stephen Colbert") performed by Tame Impala

October 9, 2015
"Friday" performed by Joe Jackson
"Friday's Child" performed by Nancy Sinatra
"Friday" performed by J.J. Cale
"Friday Street" performed by Paul Weller
"Friday I'm In Love" performed by The Cure

"Imagine" performed by John Lennon
"Midland Maniac" performed by Steve Winwood
"Feel So Glad" performed by The Steve Miller Band
"High Roller" performed by Cheap Trick
"Machine Gun" performed by Jimi Hendrix with Band Of Gypsys
"Happiness Is A Warm Gun" performed by Tori Amos

October 10, 2015
"Saturdays Kids" performed by The Jam
"A Month Of Saturdays" performed by R.E.M.
"Drive-In Saturday" performed by David Bowie
"Saturday Sun" performed by Crowded House
"(Do You Remember) Saturday Gigs" performed by Mott The Hoople
"Come Saturday Morning" performed by The Sandpipers

"A Roller Skating Jam Named Saturday" performed by De La Soul
"Saturday Night" performed by Bay City Rollers
"Saturday Night" performed by Suede
"Almost Saturday Night" performed by Ricky Nelson
"Saturday Love" performed by Cherrelle with Alexander O'Neal
"Juke Box Saturday Night" performed by Glenn Miller and his Orchestra

October 11, 2015
"A Sunday Kind Of Love" performed by Beth Rowley
"Another Park, Another Sunday" performed by The Doobie Brothers
"Lazy Sunday Afternoon" performed by The Small Faces
"Sunday Sunday" performed by Blur
"Sunday" performed by Nick Drake
"Sunny Sunday" performed by Joni Mitchell
"A Sunday Smile" performed by Beirut

October 12, 2015
"Doctor,  Doctor" performed by Thompson Twins
"I Don't Need No Doctor" (live at the Fillmore 1971) performed by Humble Pie
"Sick And Tired" performed by The Cardigans
"Shake The  Disease" performed by Depeche Mode
"Weakness" performed by Todd Rundgren

October 13, 2015
"mercy" performed by The Innocence Mission
"For Love" performed by Lush
"Undertow" performed by Ivy
"Wicked Things" performed by Prefab Sprout
"On The Mend" performed by Foo Fighters

"Haunt Me" performed by Post Social-WSPC PREMIERE
"Her Ghost" performed by Jon Brion
"Full Moon" performed by The Kinks
"The Ghost" performed by Fleetwood Mac
"Idee Fixe" performed by Dash Hounds-WSPC PREMIERE

October 14, 2015
"People On The High Line" performed by New Order-WSPC PREMIERE
"Spice Train" performed by Thomas Dolby
"Beverly Terrace" performed by Sloan
"Free Life" performed by Natalie Maines
"Devil Woman" performed by Cliff Richard

October 15, 2015
"When The Night Comes" performed by Jeff Lynne's E.L.O.-WSPC PREMIERE

"Vara Snabb" performed by Dungen
"Ascension Day" performed by Talk Talk
"Building Steam With A Grain Of Salt" performed by DJ Shadow

October 16, 2015

HAPPY 62ND BIRTHDAY TO TONY CAREY
"The Cold Norh Wind"
"Along The Ponchartrain"
"Dust"
"What I See-Part 1" performed by Planet P. Project
"10,000 Times"
"Miles Away"
"Good Little Soldiers" performed by Planet P Project
"A Fine, Fine Day"

October 17, 2015
"Academic" performed by New Order-WSPC PREMIERE
"Cop And Go" performed by The Dead Weather-WSPC PREMIERE
"Some Days Are Better Than Others" performed by U2
"Ohio" performed by Post Social-WSPC PREMIERE
"Bargain" performed by The Who

October 20, 2015
"Vow" performed by Garbage
"Came Back Haunted" performed by Nine Inch Nails
"There There" performed by Radiohead
"Ava Adore" performed by The Smashing Pumpkins
"I Don't Like The Drugs (But The Drugs Like Me)" performed by Marilyn Manson

"These Walls" (live at Kennedy Center) performed by Kendrick Lamar with the National Symphony Orchestra-WSPC PREMIERE
"Second Skin" performed by Shannon Connor-WSPC PREMIERE

October 21, 2015
"Norwegian Wood (This Bird Has Flown)" performed by The Beatles
"Witch's Rave" performed by Jeff Buckley
"Magic" performed by Olivia Newton-John
"Sisters Of The Moon" performed by Fleetwood Mac
"Scared" performed by John Lennon

"Socialism" performed by Hypnopaedia-WSPC PREMIERE

October 22, 2015
"Divine Intervention" performed by Matthew Sweet
"The Lie In Me" performed by Jason Falkner
"Build That Wall" performed by Aimee Mann
"Please Sister" performed by The Cardigans
"Silence Is Golden" performed by Garbage

October 23, 2015

HAPPY 20TH ANNIVERSARY TO THE SMASHING PUMPKINS' 
"MELLON COLLIE AND THE INFINITE SADNESS"
"Mellon Collie and the Infinite Sadness"
"Tonight, Tonight" (string only version)
"Where Boys Fear To Tread"
"Beautiful"
"Galapogos"
"Porcelina Of The Vast Oceans"

"Rebel Yell" performed by Billy Idol
"Coming For You" performed by Ric Ocasek
"The Blood Is Love" performed by Queens Of The Stone Age
"Gonna Raise Hell" performed by Cheap Trick

October 24, 2015
"Moss Garden" performed by David Bowie
"Autumn Sweater" performed by Tortoise
"Remote Viewing" performed by Tangerine Dream
"Mane Imbrium" performed by Andy Summers-WSPC PREMIERE
"October" performed by U2

"Brooklyn" performed by Youngblood Brass Band
"Time Is Running Out Fast" performed by JAMES BROWN
"Mutiny" (line on "Arsenio") performed by Prince & The New Power Generation

October 25, 2015
"I've Seen All Good People" performed by Yes

"Pop Star" performed by Cat Stevens
"The Apologist" performed by R.E.M.
"Hell To Pay" performed by Paul McCartney
"The Fall" performed by Electric Light Orchestra
"We Let The Stars Go" performed by Prefab Sprout

"Big Sister's Clothes" performed by Elvis Costello and the Attractions

October 26, 2015
"Halloween" performed by Siouxsie and the Banshees
"Ghost Town" performed by The Specials
"Wicked Annabella" performed by The Kinks
"Season Of The Witch" performed by Donovan
"Your Auntie Grizelda" performed by The Monkees
"Somebody's Watching Me" performed by Rockwell with Michael Jackson

HAPPY 42ND ANNIVERSARY TO THE WHO'S "QUADROPHENIA"
"The Punk And The Godfather"
"I've Had Enough"
"Four Faces" Pete Townshend demo
"Wizardry" Pete Townshend demo
"Bell Boy"
"Is It In My Head?"

"Phantom Living" performed by The Fixx
"Tiny Demons" performed by Todd Rundgren

October 27, 2015
"Freaks Come Out At Night" performed by Whodini
"The Boogie Monster" performed by Gnarls Barkley
"Nightmare Strut" performed by J.C. and the Soul Angels
"The Spook Who Sat By The Door" performed by Herbie Hancock
"Haunted House" performed by Lee Oskar
"Creature Feature" performed by Billy Preston
"I Hear Voices" performed by Screamin' Jay Hawkins

October 28, 2015
"Ballet For A Rainy Day/1000 Umbrellas" performed by XTC
"Come Rain Or Come Shine" performed by Ray Charles
"Umbrella" performed by Rhianna featuring Jay-Z
"Falling Rain Blues" performed by Lonnie Johnson
"Early Morning Rain" performed by Gordon Lightfoot
"Here Comes The Rain Again" performed by Eurythmics
"The Rain" performed by Missy Elliot

October 29, 2015
"Ghost Highway" performed by Mazzy Star
"People Are Strange" performed by The Doors
"Freak Parade" performed by Todd Rundgren's Utopia
"The Witch" performed by The Sonics
"Frankenstein" (live) performed by The Edgar Winter Group

"Around The Dial" performed by The Kinks
"One Step At A Time" performed by Jeff Lynne's Electric Light Orchestra-WSPC PREMIERE
"The Crooked Beat" performed by The Clash
"Nothing But A Fool" performed by New Order-WSPC PREMIERE
"Sex Is Not The Enemy" performed by Garbage
"D.J." performed by David Bowie

October 30, 2015
"Brilliant Mistake" performed by Elvis Costello
"Birds Of Paradise" performed by Pretenders
"'Till The Next Goodbye" performed by The Rolling Stones
"Time Has Told Me" performed by Nick Drake
"Tree Of Knowledge" performed by The Pursuit Of Happiness

"Halloweenhead" performed by Ryan Adams and the Cardinals
"Spooky" performed by Dusty Springfield
"Fire On High" performed by Electric Light Orchestra
"Night On Bald Mountain" composed by Mussorgsky
"All Nightmare Long" performed by Metallica

October 31, 2015
"Everyday Is Halloween" performed by Ministry
"Dead Man's Party" performed by Oingo Boingo
"This Is Halloween" performed by Danny Elfman
"Superstition" (live 1973) performed by Stevie Wonder
"Thriller" performed by Michael Jackson

Tuesday, October 27, 2015

NOW PLAYING IN THE SAVAGE JUKEBOX OCTOBER 2015

"ABSOLUTELY FREE"
FRANK ZAPPA AND THE MOTHERS OF INVENTION
Released May 26, 1967
"SHEIK YERBOUTI"
FRANK ZAPPA
Released March 3, 1979
"PLANET P. PROJECT"
PLANET P. PROJECT
Released 1983
"FOR YOU"
PRINCE
Released April 7, 1978
"TUG OF WAR"
PAUL McCARTNEY
Released April 26, 1982
"YOUR SAVING GRACE"
THE STEVE MILLER BAND
Released November 1969
"ALLAS SAK" 
DUNGEN
Released September 25, 2015
NEW 2015 MUSIC: Steve Manley, you are an evil, evil man!!!! Just kidding, my friend. I only say those words (purely in jest, of course) because Steve has once again pointed me towards a band that has fully captured my attention, so much so that (as you will see on this list), I have excitedly begun heading backwards through their discography.

The band is Dungen and they hail from Stockholm, Sweden and sing in their native language as well. The name of the band translates (if I am to believe Wikipedia) as "The Groove," which feels more than appropriate as the band has somehow channeled a certain early 1970's psychedelic rock palate where extended instrumentals with loads of Jethro Tull-ish flute passages, no less) can co-exist with heavily melodic pop songs, guitar heroics, free flowing drums and whatever else the band feels that they can get away with tossing into their musical stew.

Their latest album, the band's first release in four years, continues upon this path making for an experience that is completely engrossing even though I am unable to understand even one word that is being sung. But isn't that the great thing about music and its ability to transcend language by creating a universal language? And trust me, "Allas Sak" is one of my musical highlights of the year.
"PIPES OF PEACE"
PAUL McCARTNEY
Released October 31, 1983
"SKIT i allt"
DUNGEN
Released September 14, 2010
"DODGE AND BURN"
THE BEAD WEATHER
Released September 25, 2015
NEW 2015 MUSIC: This is going to come as a bit of a surprise to you but, despite the praise the album has received through music publications and fans, for me, I really think this album is a bit of a dud.

This third album from The Dead Weather, their first in five years, is a release that finds the unit as vigorous as ever, and performing with force and fury (trust me, this is Jack White's finest performances behind the drum kit to date) but somehow, someway, it all feels so flat, so "been there-done that," and frankly, so boring. These feelings completely startled me, especially as much as I loved the band's first two albums. But, I do think that as of late, White is beginning to become an insufferable parody of himself with his faux blues purity and completely recycled Zeppelin riffs and wannabe hip-hop swagger.

There are some good moments on this new release but for the most part, "Dodge And Burn," just felt like the outtakes from the band's previous and better albums...or quite possibly, unused riffs that they just decided to get themselves around to. The freshness and excitement of the past was not present for me and in ways, it felt as if the band is just going through the motions instead of feeling truly inspired. Lead singer Alison Mosshart continues to squeal and scream, Guitarist Dean Fertita continues to channel White's guitar fireworks and as for Jack White III himself, well...I think he fashions himself to now be some sort of a rapper, and the masquerade is something that I am not certain is all that convincing.

I would hate for this band to go the way into White Stripes predictability and find themselves boxed into becoming prefabricated poseurs but for this album, they are coming dangerously close. Will The Raconteurs please return anytime soon????
"4"
DUNGEN
Released September 29, 2008
"NUMBER 5"
THE STEVE MILLER BAND
Released November 1970
"BRAVE NEW WORLD"
THE STEVE MILLER BAND
Released June 16, 1969
"THE DOUBLE CROSS"
SLOAN
Released May 10, 2011
"GARBAGE"
GARBAGE
Original Release August 15, 1995/20th Anniversary Edition Release October 2, 2015 
"BEAUTIFUL GARBAGE"
GARBAGE
Released October 1, 2001

"BLEED LIKE ME"
GARBAGE
Released April 12, 2005
"VERSION 2.0"
GARBAGE
Released May 11, 1998
"THE SLIP"
NINE INCH NAILS
Released May 5, 2008
"WELCOME OBLIVION"
HOW TO DESTROY ANGELS
Released March 5, 2013
"GET HAPPY!!"
ELVIS COSTELLO AND THE ATTRACTIONS
Released February 15, 1980

Friday, October 23, 2015

GARBAGE: 20 YEARS OF QUEER-LIVE AT THE ORPHEUM THEATER OCTOBER 18, 2015-A SYNESTHESIA EXCLUSIVE

GARBAGE
20 YEARS OF QUEER
LIVE AT THE ORPHEUM THEATER
MADISON, WI
OCTOBER 18, 2015

GARBAGE:
DUKE ERIKSON: Guitars, Keyboards, Synthesizers
SHIRLEY MANSON: Vocals, Guitar
STEVE MARKER: Guitars, Keyboards, Synthesizers
BUTCH VIG: Drums, Programming
with
ERIC AVERY: Bass Guitar

On the weekend of October 16-18, 2015, Madison, WI celebrated Homecoming weekend for the University Of Wisconsin-Madison, complete with parades, pep rallies, alumni reunions and of course, the Wisconsin Badgers football game. Yet, on the evening of Sunday, October 18th, another major homecoming event occurred in the city, yet one that was completely unaffiliated with my beloved alma mater, but undeniably of no less importance to the participants and to all who were graced to attend.

The event was the heroic return of Madison's very own Garbage, the alternative rock band formulated by Madisonians Duke Erikson, Steve Marker and Butch Vig plus Scottish import, the unrivaled Shirley Manson, on the celebration of the group's 20th anniversary at the historic Orpheum Theater located on the equally legendary State Street. The first and previous time I had the good fortune to witness this band was at this very same theater on April 7, 2013, as Garbage settled into one of their final stops on their then year long tour supporting their fifth album "Not Your Kind Of People" (released May 14, 2012).

That 2013 performance was a sledgehammer of a victory lap for the band, a fully triumphant concert which arrived after a seven year hiatus, a most lengthy spell that made me seriously question if the band had indeed run their course. Thankfully and powerfully, that evening proved to me not only that Garbage is unquestionably one of our GREAT bands, as demonstrated with one GREAT song after another GREAT song, that night also confirmed that the story of Garbage was far from over. That night, Garbage delivered a performance that showcased their longevity and their superior vitality and it completely re-defined what it means to be a "roof raiser.".

The performance this past Sunday night surpassed it.
On this chilly, autumnal evening, I arrived at the Orpheum theater not terribly long after 6 p.m. with the hopes of finding myself somewhat close to the front of any formulating line of patrons waiting to enter. Unlike the 2013 performance, where the line outside of the Orpheum stretched along State Street, concert goers were instructed to line up around the corner from the theater so as to not block entrances/exits to and from the accompanying State Street businesses.

With that new information, I was then somewhat surprised to see how long the line of concert goers actually already was, with people beginning at the Associated Bank on the corner of State Street and elongating along the length of the parking ramp that I had just emerged from and even then, threatening to move along to the next block by the downtown campus of Madison Area Technical College, widely abbreviated at MATC. I raced to the front of the theater to grab a quick photo of the marquee and then, I raced back to claim my spot in line. As I waited over the following 45 minutes, I engaged in a hearty conversation with concert travelers from Appleton, WI, as well as regarded new arrivals, several of whom were adorned with pink feather boas, all in tribute to the cover of Garbage's self-titled debut album (released August 15, 1995), which the band was scheduled to perform in its entirety, plus all of the b-side singles and rarities from the period between 1995-1996.
By 7 p.m., the doors to the Orpheum were opened, I entered, had my ticket scanned, my hand stamped and I "X-Wing-ed" myself into the theater's inner sanctum, still feeling a tad displaced as my memories of the Orpheum existing solely as a movie theater, a frequent haunt of mine during my college/early life in Madison years in the late 80's/early 90's, began to flood my brain. Zipping past the sound board as well as a few cameras, as this night's performance was also to be simulcast upon Yahoo Live Nation, I claimed my spot, perched.directly to the right side at the foot of the stage, which was lushly bathed in a sea of hazy, rich blue light.
Shortly before 8 p.m., the house lights faded, I quickly inserted my trusty ear-plugs as the Orpheum's sound system carries tremendous bang for its considerable bucks and over the course of the following 30 minutes, the audience experienced the opening act performance by alternative upstarts, the four piece band, Torres.  Regarding this set, I have to say that I was perhaps a tad underwhelmed. While there was nothing negative about the band, so to speak, and they did indeed perform their set with a certain brooding intensity (a highlight being the track "Splinter"), I do think that the overall dreamy atmospherics of the music itself plus the hushed vocals of bandleader/guitarist Mackenzie Scott, were perhaps a bit too ephemeral for this night, and especially for this particular audience, who was respectful but definitely talkative during the short opening set.
By 9 p.m., it was time!!!! Immediately after the set from Torres and while instruments and the stage set-up were being shifted around, a large white screen quickly descended from the ceiling, obscuring the stage from view. Once the house lights darkened again, projectors blazed to life and began screening a short introductory film onto the screen, displaying footage of Garbage at their beginnings and augmented by the cultural touchstones of 20 years ago.
Suddenly, and in a night filed with surprising visual touches, Garbage emerged (sort of) as they obliterated the theater with the 1995 era b-side track "Subhuman," while completely hidden from the audience, their towering, shadowy silhouettes as the only physical evidence of their presence.
Following the waves of applause and screams from the audience, the curtain dropped with Butch Vig's classic pounding drums signaling the opening to "Supervixen." And as if caught within a supernova, Garbage fully emerged in the flesh with rapturous force.
Completely armed with a gloriously presented visual razzle dazzle, Garbage was fully surrounded by all manner of rapturous lighting effects, including blazing strobes as well as a splendidly kaleidoscopic color scheme of rich reds, deep purples, luxuriant blues and greens and of course, extravagant pinks.
Five rectangular movie screens flowed from nearly floor to ceiling directly behind the band, catching projected images from time to time as well. It was a more lavishly presented experience that the band delivered in 2013, and being at the foot of the stage, just immersed in all of the visual sheen was blissfully overwhelming My eyes simply drank in every single sight to the very final drop.
 
Undeniably, the evening was not about the brilliant light show. This was a celebratory night about the songs themselves. As promised, the band performed every track from the debut album from the hits like "Queer," "Stupid Girl," and "Only Happy When It Rains" to the deep cuts like "My Lover's Box," "Milk" and the downright pile driving "Vow," with that refrain so cleverly lifted from The Beatles' "No Reply," and as promised all of the b-sides and rarities, including my personal favorite, the menacing and pummeling "#1 Crush."

One aspect about the evening's set list that I especially enjoyed was the unpredictability of the running order. I had envisioned that Garbage would essentially perform the album from top to bottom in sequence and then follow with the b-sides and rarities afterwards. They did not and frankly, I think this speaks to the very unique nature of the band members of Garbage as the group is made up of music fans as well as artists and producers. These are individuals who intuitively understand what it means to craft an album as opposed to a live performance, and how each one needs to be cultivated differently in order to achieve the maximum effect. Running the album in sequence would have lended itself to a certain predictability, no matter how ferociously the songs were performed. So, opening the show with a b-side, and then playing the full album out of sequence, with b-sides and rarities mixed within was a masterstroke. You never knew what was coming next and were just thrilled when the songs finally arrived. 
Additionally, this almost hodge-podge fashion allowed certain album tracks that may have been slept on to various degrees depending upon each and every listener, to be re-examined as it has essentially been re-contextualized within the show. For me, the propulsive "As Heaven Is Wide" carried more weight than I had previously felt and with Shirley Manson's additional recitation of The Lord's Prayer during the track's outro, my mind quickly merged the song to be in league with nothing less than Prince's "Controversy."  

The atmospheric "A Stroke Of Luck" was another track that demonstrated a power that I hadn't quite felt before in the 20 years that I have been listening to this album and band. The psychedelic qualities of the song emerged so vibrantly, also illustrating just what great songwriters the members of Garbage truly are, as they are able to reference music's past, wear their influences upon their sleeves so overtly and yet, make music that still sounds as if it was recorded and realized in the future. The multi-layers of the sonic qualities are jaw dropping to be true, but the song's structures and construction...that's where the gold lives and the entire night was filled with nothing but top flight examples of classic songwriting combined with furious innovation. 
I especially loved the tributes Manson made to both the music and songwriting of The Jam and Vic Chesnutt as Garbage performed the rare cover songs of "The Butterfly Collector" (which I honestly had never heard before this night) and the stunning, heartbreaking "Kick My Ass," two examples of their own fandom as well as providing everyone in the Orpheum a bit of music education and history. For if you loved those two songs, then please do find your way to the musical discographies of both artists, influencing and inspiring us to explore the music that inspired and influenced Garbage.

And as I recount my memories and the feelings I experienced during this concert, I have to say that it was through elements like the ones I have already described as well as further insight I have yet to share, Garbage's 20th anniversary performance while dynamic and epic, was actually quite an intimate show. Remember, this was Homecoming weekend in Madison, and for Garbage their own  
homecoming made for quite an emotional evening for the audience I would imagine, as well as for themselves.
Returning to the performance of "A Stroke Of Luck" for a moment, there was a wonderful section of the night when Shirley Manson engaged the audience with her effortless, open and heartfelt storytelling, which felt warmly conversational despite the fact that this night was a sold out performance. Manson laughed to herself once the song completed (quite heartedly, I have to add--she certainly has a most infectious cackle) as she expressed to the audience that while she was singing, memories of her life in Madison 20 years ago began to flash within her mind.

This may sound terribly naive to some of you out there, but I really do believe in the transformative power of music. Furthermore, I firmly believe that a concert experience, at its finest, can be about even more than just having a good night out or hearing your favorite songs being performed in front of you. There is a communal power of the shared experience at work, and a great show can even transcend the music even while the music is precisely what has bound everyone together for the experience in the first place. This 20th anniversary performance by Garbage was indeed one of those very shows that did transcend the music while the music held us all together, and powerfully so.

Shirley Manson, who remains one of the GREAT lead singers, proved herself to be a hostess of tremendous grace, as well as armed with a wicked wit, as she spun one story after another during a few lengthy portions of the show where she simply spoke to us. As she recalled her times living in Madison at the Edgewater Hotel, or purchasing coffee from Ancora, the nights at the now defunct Cafe Montmartre or her arrival to Madison at the Dane County Airport which led to her first night in a bizarrely lurid hotel room at Inn On The Park, I would be hard pressed to think that everyone, especially those who were also living in Madison like myself, were not also transported to where and furthermore, who they were in 1995.

For me, I was 26 years old, working in a bookstore, my life as a teacher not even a thought yet, in a long term relationship but not married yet, and movies, writing and music as much of a source of passion as it is today. Garbage was indeed a crucial piece of that puzzle during that time, especially as the now defunct Smart Studios was a building I drove past on a daily basis (and I still do) and I could not help but to wonder what musical dreams were being hatched inside of that extremely non-descript building that people would otherwise walk/drive past without a second thought.
And this takes me directly back to the songs themselves, the incredible, singular musical vision of Garbage. Yes, these songs are intricately complex musical productions but possibly for the very first time on this night, I realized that thematically and conceptually, these songs are structurally complex as musical compositions, blending the music of the past and present and forging a bold future without question. All evening long, as Garbage performed the songs of 20 years ago, it took what could have been a night of pure nostalgia and firmly placed it up to the minute, if not even a tad ahead of the curve.  

It really struck me on this night how perfect this specific collection of songs actually happens to be as they just nailed who this band is, and would further become, from the beginning. These are songs with an overt sexuality and eroticism, but the dark romance of the songs really creates the tension. Beyond affairs of the heart, the music of Garbage aims simultaneously higher and deeper as every track from the debut album plus b-sides and rarities, all center themselves around precarious and powerful emotional terrain, from anger, rage and revenge, to desire, damage and devotion. We hear the feelings of anguish and anxiety, destruction and reconstruction, love's labor, loss and liberation, and finally, euphoria and most importantly, discovering full empowerment. And to think, this band encompassed all of those feats the very first time with songs all written, produced and created right here in Madison, the city where this band and these relationships were born. If you are still with me, I think you can gather what I mean about the concert transcending the music while the music held us in blissful sync. These songs are now as much about all of us as they are about the individuals who created them, making for a catalog that is as personal as it is populist.
What also became very clear to me was the genuine and deep affection Manson possesses for her bandmates, even after all of the years, successes, trials and tribulations. She spoke of each member so lovingly and it appeared that the feelings were mutual as I tried to read the faces of her bandmates as Manson recounted stories and openly shared her feelings about them to all of us.
Guitarist/Keyboardist Duke Erickson was closest to my vantage point for the entire evening and he cut a superbly sinister figure, dressed all in black, complete with hat, Bishop's collar and a grim, stone face that slashed through the psychedelic haze as sharply as his stinging guitar leads.
Guitarist/Keyboardist Steve Marker was Erikson's outstanding equal, flanking the opposite side of the stage with complete command, flowing between the six string and the 88's with effortless ease. Longtime touring Bassist Eric Avery (a musical legend in his own right as co-founder of Jane's Addiction), with his chest rumbling playing stuck closely to Butch Vig, who remains a behemoth on the drums, with every beat of the bass drum feeling like a mule kick to the chest. They made for a rhythm section at its most formidable.
This 20th anniversary performance by Garbage was a most emotional evening, while the music itself was thunderous and pulverizing. It was an enormously celebratory event, so tightly focused and presented, that illustrated triumphantly how the band's debut album is unquestionably one of the great debut albums. It showed me, in ways that I had not previously realized, that it is a work that solidified the band's musical identity and foreshadowed what was to arrive on future albums and they accomplished this feat just as they were formulating it here in the city of Madison, WI. Simply stated, it was meant to be.
And thankfully, the story of Garbage isn't over. Not by a long shot.

Before the encore, Butch Vig took the mic and announced to the audience that the band was "95%' completed with recording their sixth album, which they hope to have mixed and mastered over the holidays to have it ready for a hopeful May 2016 release. With that news, my heart just erupted for I strongly feel that music deeply needs the artistry and influence of Garbage more than ever and the promise of new material is already shining an enormous light on '16 for me.

Yet, with even greater hopes, I wish that if they choose to tour again, Garbage returns to Madison one more time ready to blow us all apart and possessed with the full knowledge that we will all welcome them home with the widest open arms, ears and hearts.

All photos by Scott Collins